Accented Relations: Mad Max on US Screens

Dwyer, Tessa

doi:10.1007/978-3-319-66676-1_6

Cited by 1 publication

(1 citation statement)

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“…The way in which Prisoner navigates between accent varieties serves to highlight Australian voice in all its complexity and nuance, while also dramatising and leveraging progressive 1970s cultural shifts towards the national vernacular (see Doig, 2013), imbuing its vocal register with added layers of cultural irreverence and anti-authoritarianism as was also at play in the era’s embrace of ‘Ocker’ types and tones (see Crofts, 1996; Dwyer, 2018a: 120–124; O’Regan, 1995). Prisoner ’s marked investment in vocal contrast highlighted and celebrated Australian voice and accent, provoking much comment and contributing to controversy caused by its salacious themes.…”

Section: Prisoner Speakmentioning

confidence: 99%

Prisons and picnics: tough talk and accent in Australian TV drama

Dwyer

2019

Media International Australia

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Reflecting on the current TV landscape dominated by global streaming, Fremantle’s Jo Porter suggests that Australian TV is currently riding a high, with ‘quality’ dramas ‘cutting through’ and ‘getting noticed’ internationally. For Porter, this level of global visibility is occurring despite the barrier of its regional or ‘accented’ voice. However, in this article, I suggest that the global cache of certain Australian dramas may in fact be the product of accented storytelling rather than something to be conquered or overcome. In shaping this argument, I consider language politics and accent shifts in Australian TV history particularly in relation to exporting, format trade and remaking, exploring links between Grundy Television and Fremantle. By comparing language and accent in the cult classic Prisoner with Fremantle’s Wentworth and Picnic at Hanging Rock, I consider how the inclusion and exclusion of vernacular voice sheds light on industrial change and TV history.

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Section: Prisoner Speakmentioning

confidence: 99%